$15 Ticket to the Cleveland Orchestra's Miami Performance of "Romeo and Juliet" ($40 Value). Buy Here for 3/26/10. See Below for Additional Date.

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In a Nutshell

Guest conductor Vladimir Ashkenazy of the Sydney Symphony

Final performances of the Cleveland Orchestra's 2010 residency

The Fine Print

Promotional value expires Mar 26, 2010. Amount paid never expires.Valid only on 3/26/10. Tickets are for 3rd Tier Rear seats only. Parking not included.Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services.

Cleveland Orchestra Miami Residency

Click above to buy this Groupon for the Friday, March 26, 2010, performance. Buy here for the Saturday, March 27, 2010, performance.

Experience the majesty of tuxedoed musicians playing music with today's side deal. For $15, you get a ticket to the Cleveland Orchestra Miami Residency (a $40 value). Tickets are available for either the March 26 or the March 27 performance at 8 p.m. in the Knight Concert Hall at the Adrienne Arsht Center. This deal is only for tickets in the venue's third-tier rear seating in zone five.

Ohio's very own Cleveland Orchestra will perform selections from Sergei Prokofiev's 1935 ballet Romeo and Juliet, which was later ripped off by screenwriter William Shakespeare for his 1996 action film of the same name. Guest conductor Vladimir Ashkenazy, the principal conductor and slam-dunk champion of the Sydney Symphony in Australia, will guide the Cleveland Orchestra through the evenings' performances. Also part of both nights' programs will be a non-banjo recital of Frédéric Chopin's Piano Concerto No. 2, performed by acclaimed Argentinean pianist Ingrid Fliter, as well as a performance of Alexander Glazunov's nocturne from the Chopiniana orchestral suite. These performances mark the finale of the 2010 Cleveland Orchestra Miami Residency concert series.

Reviews

By now, the Cleveland Orchestra could play this music in its sleep. Yet its performance Friday was anything but restful. Rather, it was as if the artists were on a quest of their own, energetic and eager to reconnect with the score. – Zachary Lewis, Plain Dealer

The orchestra’s work, however, was excellent, with particularly fine, burnished playing by the winds in the opening and in the melancholy seventh variation. And the orchestra played with polished, well-blended power at the end, where strings, winds and brass, join for a slow crescendo to the work’s closing fortissimo affirmation. – David Fleshler, South Florida Classical Review